Tampa Bay Times' Scores

  • Movies
For 1,023 reviews, this publication has graded:
  • 64% higher than the average critic
  • 2% same as the average critic
  • 34% lower than the average critic
On average, this publication grades 3.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Spotlight
Lowest review score: 0 Bulletproof
Score distribution:
1023 movie reviews
  1. There's something fairly malignant in the way Glazer's strange movie holds attention, against the urge to give up and leave. There is no doubting its boundless artistry or pretension, a dangerous position for any movie in today's love-me pop culture to place itself in. Under the Skin is exactly where it gets.
  2. Foley's screenplay and direction constantly require viewers to re-evaluate the trio and their relationship with one another. This works as long as the dialogue is tolerable, which isn't long enough. [07 Sep 1990, p.6]
    • Tampa Bay Times
  3. The Dark Knight Rises declares its importance with each scene but seldom backs up the claims. It is a climax more fitful than fulfilling, solemn to a fault and begging the Joker's question: "Why so serious?"
  4. Garland's original screenplay brims with intelligence, unafraid to let characters speak over our heads. Yet it remains a pulpy delight, due largely to its uniquely mad scientist.
  5. Good intentions don't always make for good movies. Case in point: Zootopia, a Disney film with more on its mind than animated fun and fuzzies. So much, in fact, that it loses track of what audiences expect, what they're being sold.
  6. Much Ado About Nothing is simply a fun time among Whedon and his friends, and for the most part it's contagious.
  7. We are "there" although Detroit squanders that sensation on revulsion, a gut punch needing to take more shots at our heads.
  8. For all its eccentricity Logan Lucky too often reminds us of movies Soderbergh or someone else made before.
  9. Finding Dory is a good sequel to a great film, and perhaps that's all fans could hope for.
    • 77 Metascore
    • 40 Critic Score
    As the story lumbers on, the noose around Farrell's neck tightens and No Way Out gets funnier. Not by design, however. [14 Aug 1987, p.1D]
    • Tampa Bay Times
  10. The Gift is B-movie melodrama at its lurid finest, and worth a look.
  11. Chungking Express essentially tells two muted love stories set in a bustling locale, without fully involving the audience in either. [3 May 1996, p.5]
    • Tampa Bay Times
  12. To borrow just a few of Aleichem's words that are ingrained in Jewish culture: "It could be worse."
  13. Personal Shopper is wildly imperfect, wandering like Maureen through surroundings matching her dark, curious mood. Dead ends abound with scenes running long then abruptly dropping their subjects. Thrills aren't part of the bargain unless Stewart's intense vulnerability counts. Now more than ever, it should.
  14. If he made The Ghost Writer under a pseudonym, it might be roundly hailed as the classy white-knuckler it is. But it's Polanski's name above the title, with his own ghosts haunting each frame.
  15. The Jungle Book could use better lighting and less of John Debney's musical score insisting each moment be melodically underlined twice. Still, it's a movie to thrill and perhaps inspire kids to play Mowgli games again. Not outside, of course. Now there's an app for that.
  16. This is a story to make blood boil and change demanded, so future waves of incoming freshmen — even that term is male-centric — won't have their dreams ruined.
  17. What is off limits to steal when everything is available, not only in a digital age but clacking through a projector? Isn't fame always at someone else's expense? Even Baumbach borrows, notably from Woody Allen's Crimes and Misdemeanors. Fair, and funny enough.
  18. Calvary becomes a lurid Agatha Christie yarn with something important to say about the church and Ireland that McDonagh can't fully articulate. Pulp keeps getting in the way.
  19. Philomena is simply one of those small, true stories that astonish in print and inspire good movies.
  20. Get Low is a pleasant yarn, well-acted and dutifully mounted with period designs. There isn't a false note among the actors.
    • 77 Metascore
    • 75 Critic Score
    It continually finds some added depth and shading to its familiar setup and it's hard to not appreciate a movie that's content to be a solid, unpretentious genre entry, especially for a first outing.
  21. James Mangold's Logan is an uncommonly mature comic book movie, practically from another universe unto itself. It's a movie demanding and deserving to be taken seriously, an elegy for a mutant.
  22. Whatever Career Girls lacks in polish or ambition, it compensates with three memorable performances and an unwavering filmmaker working on nobody's terms except his own. [5 Sep. 1997, p.3]
    • Tampa Bay Times
  23. The images captured by cinematographer Adam Arkapaw are more dreamy than nightmarish as if his camera — like the children — doesn't fully understand the dangers.
  24. J.A. Bayona's exquisite A Monster Calls blends pathos and sophistication, fairy tales and harsh realities into a small masterpiece.
  25. Franco doesn’t ask viewers to reconsider bad art but to respect the artist behind it. Sage advice from someone who, after a few career disasters, can still shape a movie this good.
  26. Buck is a movie to be revisited again and again, like passages from a satisfying self-help book. Riding experience isn't necessary to realize how extraordinary this man and his calling are.
  27. Guardians of the Galaxy is fun but forgettable, or perhaps Gunn crams so much onto the screen that memory is crowded out. Definitely worth a second look, just to figure out what in the name of Buckaroo Banzai is going on.
  28. Exhilarating drama, and a triumphant return to glory for both Zemeckis and Washington.

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